sao-paulo

Lais Myrrha, Dois quartos (Two Bedrooms), 2015, colored pencil on blueprint architectural plan, cement, rubble, dimensions variable. Photo: Eduardo Ortega.

Lais Myrrha

Galeria Jaqueline Martins

Lais Myrrha, Dois quartos (Two Bedrooms), 2015, colored pencil on blueprint architectural plan, cement, rubble, dimensions variable. Photo: Eduardo Ortega.

A large gray mound on the floor of the gallery—visible at an angle from the street, through the glass door—suggested an indoor renovation project. But this seemingly mundane mass was actually part of one of the works in Lais Myrrha’s exhibition “O instante interminável” (The Interminable Instant). The video projection that lent its name to the show (all works 2015) seduced me for all of its nearly fourteen minutes. There was something familiar in its deliberate, fluid metamorphosis from pastel to hot hues—the formless patches of changing colors and textures reminded me first of wonderfully calm sunrise- or sunset-kissed clouds; then of agitated lava-spitting eruptions, smoke, and crackling flames. Yet, as the artist told me during an interview, “It’s not a innocent image. It’s perverse.” Indeed, the perversity lies in the work’s enticingly seamless and evasive

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